Inside Installations: Mapping the Studio II

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Miami Art Basel

Lombard-Freid Fine Arts presented Letter to the Censors at the art fair Miami Art Basel in December 2003 and it was from this show that Tate bought the work.

Tate curator Tanya Barson describes the experience of discovering the work:

Discovering the work
at the Miami Art Fair

Tanya Barson, Curator
1 mins 18 seconds

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With stricter controls under the Bush administration the Department of Homeland Security failed to process his visa request and Garaicoa was unable to travel to Miami. Consequently assistants and staff from his gallery installed the work. ‘My friends kept calling me and e-mailing about the work and to find out when I would arrive. It was so sad’. Carlos Garaicoa quoted by Marc Spiegler in Artnews, March 2005, p. 99

In the display in Miami, the model was placed on a red carpet in the centre of a room surrounded by the light boxes which were hung on the walls. Spot lights were fixed to the bottom of the walls pointing downwards. At certain points of the day the roof covering the equipment had to be removed because of a problem with heat build up.

Carlos Garaicao, Letters to the Censors (Carta a los censores) 2003 Display view, Miami Art Basel 2003 | © Carlos Garaicoa, Photo: Tanya Barson

Carlos Garaicao
Letters to the Censors (Carta a los censores) 2003
Display view, Miami Art Basel 2003
© Carlos Garaicoa, Photo: Tanya Barson
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Letters to the Censors (Carta a los censores) 2003, Display view, Miami Art Basel 2003

Carlos Garaicao
Letters to the Censors (Carta a los censores) 2003
Display view, Miami Art Basel 2003
© Carlos Garaicoa, Photo: Tanya Barson
enlarge



Letters to the Censors (Carta a los censores), 2003, View inside the model, Miami Art Basel

Carlos Garaicao
Letters to the Censors (Carta a los censores) 2003

View inside the model, Miami Art Basel
© Carlos Garaicoa, Photo: Tanya Barson
enlarge